{"id":436,"date":"2019-05-17T23:45:19","date_gmt":"2019-05-17T23:45:19","guid":{"rendered":"http:\/\/artinfo.is\/?p=436"},"modified":"2019-05-27T11:50:38","modified_gmt":"2019-05-27T11:50:38","slug":"v-b-guardia-nueva-equalisation","status":"publish","type":"post","link":"https:\/\/artinfo.is\/is\/practical-matters\/v-b-guardia-nueva-equalisation\/","title":{"rendered":"V.b \u2013 Guardia nueva equalisation"},"content":{"rendered":"

As we’ve said before, there is reason to equalise tango tracks in various cases, both to improve on the sound of the older music, and to rectify faults in post-production of a lot of the music available. We have alreaydy analysed some of the scenarios and will be examining how to treat the music involved in practical situations, demonstrating the technique and examples of the results. We will be using a parametric equaliser for the demonstration, although similar results can also be attained with a graphical equaliser.<\/p>\r\n

1. Canaro’s Queja indiana<\/em> from 1927, TangoTunes’ edition<\/h4>\r\n

My first example shows a possible enhancement of an early tune, from times when both the lower and upper ranges sounded weak in comparison to the midrange. For some people this sort of equalisation adds volume to these early versions as well as some sparkle in the upper ranges.<\/p>\r\n

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Above is an example of the curve used to balance the TangoTunes version, with a slight intensification of tha bass, a slightly greater emphasis on the high-mids. Notice also how we shelf the deep bass and treble to reduce unwanted noise.<\/p><\/div>\r\n

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Here you can see the effect of the equalisation, the bass increased from 200 Hz down to 50 Hz by up to 7 dB, The high-mids by up to 8 dB from 1 Hz with t peak around 3.5 Hz.<\/p><\/div>\r\n

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